AI does not make photographs. It can make photorealistic simulations of photographs but by definition, what AI makes is not photography. Many are referring to this kind of illustration as "Promptography".
grat term and it may be an art by itself.
Sure, there's a future for human photographers. Keep in mind that the majority of landscape etc. photography hasn't been very innovative for the past 80 years or so to begin with, so the question may have played around in the background much longer than many of us had realized. Apparently most of us who practice photography in less-than-innovative fashion (which is the vast majority of amateur & pro photographers) haven't been bothered too much by the notion that "it's been done before". I doubt we will bother much by a similar "it's being done by something else as well".Is there still a future for photographers "making" photo's? What route should they take to distinguish themselves from AI generated photography?
AI does not make photographs. It can make photorealistic simulations of photographs but by definition, what AI makes is not photography. Many are referring to this kind of illustration as "Promptography".
From an artistic viewpoint, in my view the processes of conceptualization and embedding human meaning into a work of art (as it's made as well as when it's being 'consumed' by the public) are essential. These cannot be substituted by AI as we presently know it, as AI is not sentient, does not actually understand or feel anything and therefore isn't capable of sensemaking. In this sense, AI hasn't even put as much as a dent into artistic photography.
We probably won't be able to answer the question posed until we have at least 40 years to look back on how things evolved.
Sure -Are there bots that make AI digital art without prompting?
But most commercial photographers don't make art, they make images in order to make a living by meeting the demand of their customers.
... Art is human creative product. End of sentence.
but AI cannot produce an image of the newest John Deere tractor that was first shown to the public today at a fair in, say, Plano, Texas.
Quoted from that article (2025, not 2005):An interesting article on AI appeared recently in Artfourm (April 2005), entitled "Machine Yearning," pp. 103-107. Among other things, the article suggests that what we now call AI, or Computer Vision as it pertains to the art world, is actually a directly linked machine-made continuation of photography, originating in the mid-19th Century.
Also, you contend that the article allegedly said (which it didn't) that it viewed computer vision as such "as pertains to the art world". That's not the case. The scope of the article is limited to the study of art in the field of art history. And it very explicitly is NOT about computer vision as a means of image-making, let alone its role as a possible substitute, threat, alternative or addition to the field of photography as such:Computer vision, however, is not an extension of photography.
So the fact that 'AI' is referred to as 'computer vision' here is noteworthy - it's not the 'AI' we were talking about in this thread.Instead of focusing on what computer vision can achieve in processing images, I want to offer a historical account of the language and the feelings used to frame its imagined role in art-historical practice.
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